Melinda and Melinda Critic Reviews

Metascore®:

64 =
Based upon 16 Critic Reviews
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Boston Globe | Wesley MorrisAdd Critic to Favorites

Doesn't entirely work.Read the full review

Chicago Sun-Times | Roger EbertAdd Critic to Favorites

In its complexity and wit, this is one of his (Allen's) best recent films.Read the full review

Entertainment Weekly | Owen GleibermanAdd Critic to Favorites

The best reason to see Melinda and Melinda is Radha Mitchell, who has her grabbiest role (or two of them) since she broke through with "High Art."Read the full review

Los Angeles Times | Carina ChocanoAdd Critic to Favorites

Allen's view of what's "deeply real" feels ever more deeply bogus as the movie progresses, his trademark wit having calcified into pastiche and unintended self-parody.Read the full review

ReelViews | James BerardinelliAdd Critic to Favorites

Has a fascinating premise; it's the execution that's sloppy.Read the full review

Rolling Stone | Peter TraversAdd Critic to Favorites

With Melinda and Melinda he's (Allen) not just going through the motions. He's saying the game isn't over before you laugh till it hurts.Read the full review

San Francisco Chronicle | Mick LaSalleAdd Critic to Favorites

More accomplished, adventurous and original. Instead of Allen's usual investigation into the nature of existence, this new film looks at the way stories are created, particularly comedies.Read the full review

Slate | David EdelsteinAdd Critic to Favorites

The Australian actress Radha Mitchell is the only reason to see the movie: She has an extraordinary open face and a way of mixing dreaminess with sudden bursts of lacerating emotion that recalls Jessica Lange.Read the full review

The Hollywood Reporter | Sheri LindenAdd Critic to Favorites

Woody's back on solid ground with his first memorable pic of the new millennium.Read the full review

The New York Times | Dana StevensAdd Critic to Favorites

As he (Allen) interweaves two versions of the Melinda story, one meant to be bathed in pathos, the other sprinkled with whimsy, it becomes apparent that his notions of comedy and tragedy do not quite correspond either to scholarly dogma or to everyday usage.Read the full review

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